New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1887-03-17
THE BAKER COLLECTION

Tho mixtures and studies by the late W. Bliss Baker
exb;hited at Ortgess Galleries during the past week
have aroused much sympathetic interest, which VIII
htedlv be manifested in substantial manner at
the sale tonight The artists earnest devotion TO his
art his early success. his distinct Amercanisp and
his untimey death, have made strong appeal to tue
sympathies of thOse who concern themselves win
current art Mr. Bakers education was obtained III
York school and in Newly 0rk studios lli- chief
houors were gained In the school and exhiotohs Oh
tho National Academy. The landscapes wnien no
nainted were as distinctivey American as the laid
srapes of httredge and Durand. Indeed, IL Is act
difficult &c trace certain SIMILARITY between shese
three artists, who represent three gehersohs aites
ali allowances are made tor enlsrgng influences ana
cbarpsd conditions Ii Mr.. Baker had painted twenty
wears earlier his pictures would nave oeeh groupoe
with those of Whttredge Mt that time oil ehattacA
and Casilear rs examples OF perfectly sincere point
iny in An objective manner. lie would not have Veen
classed WITH Inness, Martin and Wyant then, nor
would he have been If he had lived for by nature M
was rather n recorder OF Outward forms ana ehecu
than OF inward impressions. Yet such inIperiecs
cbaracterlzations may readily be misunderstood. ar
Baker had the love OF his work. without which az
GOOD work can be done These 40 pictures aha
Studies never suggest the hack forced to heartess and
perinnctory toll They testify not merely to persisehs
industry, but also to iund Oh ehlnusiASW "Hi'A
never seemed 10 he abated. -,
Mr. Baker was an outdoor student and not studio
composer. At tine he was charmed ny ,no
bril- htness OF early spring, the short grass vvay
Green in the clear the water OF brook shining
coldy in the sum- the relief OF gray rocks To the son
turf and the distuctness OF unclothed trees egasa
brilliant sky. This motif may be followed out III various
nctnre. which are remarkable examples of fresh AHA
srapnic description. But the artist may have iet
Others will ieel after time dissatisfaction "th 'ao
hardness aad lack OF reserve OF thls w9,h anu ~
tmrn.d IN n theme with which he was really most In
svmnathy the scenery OF the woodlands Here ~
before he showed the patient and acute Observation
OF forms and facts which has MAIDS his pictures III o..
sense 40 complete Nothing escaped him IN pa MI
the pastures and meadows in the clear, cold gh' ~
call spring Very little OF actually was lost when ns
pitched his easel in autumnai WOODS .raee, snv ,Srr
growth noted the dead leaves on the bllioeks tno
stoues orn by the brook, the hmpidty of ITS poos
and the righteousness oi me ,Ss mnne .t"dr the hest
EXAMPLE is the Woodland Brook" which was lsteiy
eagerly competed tor &C the Halsted sale but there
are several smaller wood interiors IN this collection
winch illustrate equally we'll the artists excel encies
and limitations He was a singularly direct painter.
rendering the results OF bis exact Observation, wiz
little Intervention OF the personal element tor MT.
Baker while faithful translator OF his subjects lnio
interesting pictorial torn, was not an imaginLuse
nainter His paintings ALWAYS have the charm nher-
emf IN freshness truth ana drectness and up 20 tho
ooint which he had resvhed his WORK Is OF distln-
rmshed excellence lie had learned TO reproduce hu
SUBJECTS. aud he did thi, we'll but his piatures weIe
njrfures OF many parts rather than OF one whole. hs
Id not learned to show the superiority OF art 10 mere
subject and IN most of these woodland scenes the null
tit,de Of details lack OF unity. OF centre, and Of
o,erolization show the artists limitations. IL was
-, natural tor him to generdze, although we may
Gn1 some efforts In this direction. HIS large Soii-
t,,d ia "A attempt 10 uiahc VI PiN'"
IN on rch only the larger eatdres shall be distinct ana
- which everything shall be harmonzed tor the ex-
r.ssion of QUE sentiment. The task was not easy
ParIlv concenal tor the artist, but IN this way the
ic,1,T, Is an instance OF high endeayoi seldom mes
with elsewhere -. ,., A. pl.o. ,,ds,.
,ooI another phase OF nature OF which his MofninS
o.ter m. Snow" is the most cons )cunns eNatlp,o.
Th, IA one OF his tavorite wood interiors IN smer NV
snow covering the irregular ground ana "eisnihs
dawn the evergreens, and the frozen crystals on Wv.
surface sparkling with q radiance when SHOWS .a.s
the artist occasionally consented 10 one Vi ,ne n.y.
annarent methods of q popular realism. since ~
n,cture was first exhibited It has undergone soas
CHANCES The removal oil tho intensely blue snauyrt
and toning down OF sky and lighting have ienue -
iess aggressive snd more homogeneous Inc p'c'.e
il truthful and We II painted excellent rendernH
The subject aud certain of substantial apprec'atoS
Another pointing OF the theme IN hsn Tss
st,te has "A cer.ain degree of technical interest
iast ,ictnre which Mr.. Baker painted, the " hesay
Drook' shows an effort tor Subtler atmospheric qa
ties and also il wo mistake not, an external hs
Inc smaller LECTURES. fnished and unnnished as ts
stude, uresent the variations familiar IN every sta
aalactea work. There are Instances of uncomP.h.
wi.,ns liberalism like s0me studies OF foliage, liz
Iuaes of tree trunks Nos And 3, and tns , sssrs
imnressiye trees OF No. 1O1. On the other nan" sst
ara INSTANCES OF unwontedly light suggestnlvs sod
ment as ia sketch OF soft green hrlds an9 sneI
In se' sral OF the stndes the artist hss trea W IND
broader manner. There u mach sertety in: n
thai will fail to interest. Dnt the proiongcd a.
| sf individual p:eturss would give no new Ah'"s